Andrew Scheps Vocal Mixing Trick | Get Your Vocals To Cut Through The Mix
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- Опубликовано: 1 окт 2024
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In this video I go over one of Andrew Scheps parallel vocal mixing processes using 3rd party plugins, then teach you to achieve the same effect with stock plugins. This technique will help your vocals cut through even the densest of mixes.
Song - Jay Clifford - "Paralyze"
Multitracks from Produce Like a Pro. Check out www.producelikeapro.com
Explanation - 1:03
Raw Mix - 3:09
Scheps Process with 3rd Party Plugins - 3:49
Scheps Process with Stock Plugins - 6:07
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Pro tip: On the Pultec EQP-1A, the bandwidth control affects the "hi boost" control, NOT the "low band"....
I just wanted to write that :D
Pro Tip: Read Manuals =D
Yes. It's an unfortunate position they did of that bandwidth control, when they made the Pully. Confusion-wise akin to the LA-2A's position of the output gain on the left, leading many to think it controls the input gain.
And then there's the 1176, with its counterclockwise attack and release controls 😅
Absolutly! I see many people making and commenting the same mistake ;}
I can’t believe that ppl call them self engineers snd copy past setting eq without even knowing how they work..
Great tip - but just to clarify, the compressor is compressing the whole signal still but just reacting to the information above 1khz.
Right. I may have misspoke in the video. Thanks for the clarification.
It's levioooosaa not levio-saa
Indeed. So it's more a case of the higher frequencies triggering the compressor more than the lows. It's like a very low-tech / basic de-esser, though not a very transparent nor a particularly effective one.
The that little knob/pot on the LA-2A is somewhat like a tilt-eq. But it has a peculiar frequency curve, and it may even be level-dependent. I know that from a very obsessive plugin analysis session I did a while back.
Bonus-fact: Chris Lord-Alge does sorta the same. He boosts the highs on vocals before compression, for that exact de-essing effect.
@@Tazmanian_Ninjahappenin because there too much highs and the compressor over react ?
The irony in your comment is delicious. lol
It is only compressing ("reacting" as the OP wrote) the high end. The fact that it's not a sidechain is irrelevant.
If you don't compensate the dry level when adding any copy in parallel, altered or otherwise, is gonna add volume. It's the same as adding nearly 6db to the fader (doubling a signal), the comparison is moot as its always gonna sound louder / better or 'cut more' as you say.
I agree. Though when I tried this I am watching my levels and not seeing a visible increase in vocal or overall volume but I understand how I have to be aware. Still, it does seem to sharpen my vocals, even them out and help them sit in the mix, more legible.
@@dawmix are you watching the levels on a vocal bus that the parallel channel is also being sent? There’s no way you could increase the level of a parallel track and it not essentially be adding gain to the overall signal.
I really think this trick works because it’s just adding more volume to the vocals. I’d be interested to see if there was a way to do this inside of single plugin with a mix knob that you could throw on the main vocal and see if it actually works
@@slayabouts this discussion is important. Buses are necessary for various reasons but add gain into the mix which is seductive. A fair thing to say?
If the fx is in the bus then the more volume on the bus the more fx. But the you have to lessen the track volume to compensate. And the there is gain staging so once that is set then bus and track volumes must be worked until volume/effect balance works with the rest of the tracks. This is how I interpret it.
@@slayabouts thank you for your reply. Very much appreciated.
I have to agree. I've been waiting until the end of the video to find out what the "trick" is - when it's just essentially adding volume and a bit of processing to the vocal. I'm not saying that adding volume alone would have the same result, I'm sure the EQ/compression step makes a difference, but mostly it's adding volume - which you can clearly hear and see when he starts riding the fader. The difference in volume is huge.
works! althought the bandwidth knob on a pultec works in conjunction with the hight freq boost, not the low end.
That’s right!
Organic & natural always better 🙏🏽✨
01:55 This is not correct. High-passing the sidechain means that the compressor will react less to the low-frequency, but a LA-2A stays a wide-band compressor. So what happens is the compressor is heavily compressing *everything * when there is a lot of HF, and during LF buildups not much compression is going on - accross the whole spectrum. Together with the Pultecs, what you get is a signal that is very smooth in the upper midrange upwards and pretty thinned out elsewhere. But the overall EQ curve stays the same during compression. Just as importantly this signal doesn't include the more chaotic phase shifts and flips that occur at the crossover frequency of a multi-band, or the pre-ringing of a linear mb compressor. The reason I point this out is that some comments here suggest that a multiband compressor can do the same. I've heard many vocals ruined by multiband compressors. Unnatural, hollow or even flanging upper frequencies and consonants - which only gets worse after limiting. There is 0 multi-band compression going on in the Scheps method: more natural, "direct" sound.. So be careful, please. Otherwise, really great and super useful video.
Pultec example sounds SO much better than "stock" example though! :D
Agreed, and that's the one I use. But you can get by with the stock plugins if you don't have a decent Pultec emulation.
I feel like those graphic eq have created a serious phase shift and resulted in some phase issues in the “stock” case
the pultec boosts and attenuates in a different way than any other eq, its not like any graphic eq,
Pultec has tube emulation which will result in saturation and he has 2 of them. Saturation helps things cut through the mix also.
@@entity9588 Yep. I was about to add this comment. If you add experiment with a saturation plug in or two you might get close.
This brought back the warmth that I was trying to get to along with that break through on my mixes. I had trouble with high end and this actually solved that issue for me. Thank you!
Maybe this is a dumb question, but at ~4:00 mins, doesn't the vocal track become more present by virtue of the added volume of the vocal bus track? How do you know if the 'move' was successful because of top end compression, as opposed to simply added volume?
Not a dumb question at all. Parallel processing inherently adds gain, but this technique allows the top end EQ to cut through more. Try it both ways and you'll notice a difference.
Thank you for this! It works really really well on the kind of music I usually mix and it's so fast! The great thing is that Studio One has both these devices inside the stock Fat Channel plug-in, including the frequency knob on the LA-2A emulation. For the adding of harmonics you need 3rd party though, but with the stock ones it already works really well!
You're welcome! Nice Fat Channel tip - it's a great tool.
This is pretty much what the "Thrust" setting on the API compressors does I think? Clever side chain stuff.
m using a
Waves NS1 Mono
API 560 Vocal Preset
R Dessor Dave P setting against Harshness
and Last in my Vocal Change....
I've got the VLA 3A by Black Rooster (Pretty Much the BEST) Vocal and Bass Guitar Plugin online....)
Going into my UAD 476 Volt with 48+ Phantom, 1176 Compressor and Vintage Effect in ...
Honest sounds like I'm singing into an analog Mixer with Gate and a UAD Textronic LA2A...all in the Box on the Computer
Once again....I do not claim to know more than Andrew Scheps...but....his Idea might work better if your Using a $3000 interface with a $2000 LA2A comp.....so in the Box with a great vocal interface like Volt....trust my vocal chain sounds warmer, clearer and is cutting through my mix sharper and smoother than your suggestion above...no offense
I just went into my Vocal Closet Set up and shot your Idea against mine...I won....LOL ....the Black Rooster VLA 3A, API 560 EQ and Volt 476 UAD Interface for vocals...three must...if you want to compete with the $200,000 studios.....as far as vocals....
Nice video and well explained. I have seen Andrew apply this technique on other sources as well as vocals. It’s very old school and I love it. Schepps is a legend.
where i wanna see him do it
Why don't you just change your channel name to Saul Goodman
Cool Vocals Trick: increase the volume by 6dB
I just found your channel today and I’ve watched like 5 videos. Love the short, straightforward demos and explanations. Keep it up. Subscribed!
Thank you! Glad you like the channel.
If you don't know how a plug in works - please do not make an 'instructional' video. This needs to be taken down and redone, as you are actually misleading people.
I acknowledge the mistake I made in the video when referring to the bandwidth control on the Pultec, but this is not a Pultec instructional video. If you apply the settings as described, you will still get the intended result. I saw a video where Andrew Scheps himself had the wrong setting on an LA-2A plugin (he had it backwards), yet the effect still worked.
This is nice though it’s a bid vague regarding what effects are ( if any ) already on the lead vocal track . . Does this effect the reverb ? A side chained reverb ? An exciter ? How would this technique effect those effects already on a vocal track or should you add other effects AFTER this is used ?
It really makes a difference! Thank you for sharing.
Great vid, thanks. Would have been great to also have heard the processed vocal signal by itself in order to gain better understanding as to why it makes such a difference to the final mix. Cheers.
m using a
Waves NS1 Mono
API 560 Vocal Preset
R Dessor Dave P setting against Harshness
and Last in my Vocal Change....
I've got the VLA 3A by Black Rooster (Pretty Much the BEST) Vocal and Bass Guitar Plugin online....)
Going into my UAD 476 Volt with 48+ Phantom, 1176 Compressor and Vintage Effect in ...
Honest sounds like I'm singing into an analog Mixer with Gate and a UAD Textronic LA2A...all in the Box on the Computer
Once again....I do not claim to know more than Andrew Scheps...but....his Idea might work better if your Using a $3000 interface with a $2000 LA2A comp.....so in the Box with a great vocal interface like Volt....trust my vocal chain sounds warmer, clearer and is cutting through my mix sharper and smoother than your suggestion above...no offense
I just went into my Vocal Closet Set up and shot your Idea against mine...I won....LOL ....the Black Rooster VLA 3A, API 560 EQ and Volt 476 UAD Interface for vocals...three must...if you want to compete with the $200,000 studios.....as far as vocals....
This has worked perfectly on the mix i'm working on. Holy balls. What a neat trick. Thanks very much for sharing and replying to everyones questions in the comments. AND WHAT TIMING to find this video now just when i needed it . . . i'm proud of you, I'm proud of myself, proud of Andrew Scheps.
Glad to help, and glad that the timing worked out for you!
it's such a cool technique. glad it helped you out so much, i'm going to be looking for a chance to use it, especially since i just got the waves LA2A
I'm saying dude. This shit just changed the game
m using a
Waves NS1 Mono
API 560 Vocal Preset
R Dessor Dave P setting against Harshness
and Last in my Vocal Change....
I've got the VLA 3A by Black Rooster (Pretty Much the BEST) Vocal and Bass Guitar Plugin online....)
Going into my UAD 476 Volt with 48+ Phantom, 1176 Compressor and Vintage Effect in ...
Honest sounds like I'm singing into an analog Mixer with Gate and a UAD Textronic LA2A...all in the Box on the Computer
Once again....I do not claim to know more than Andrew Scheps...but....his Idea might work better if your Using a $3000 interface with a $2000 LA2A comp.....so in the Box with a great vocal interface like Volt....trust my vocal chain sounds warmer, clearer and is cutting through my mix sharper and smoother than your suggestion above...no offense
I just went into my Vocal Closet Set up and shot your Idea against mine...I won....LOL ....the Black Rooster VLA 3A, API 560 EQ and Volt 476 UAD Interface for vocals...three must...if you want to compete with the $200,000 studios.....as far as vocals....
tbh vocals sounded fine. probably would just sub eq something else
I just saw scheps doin this trick. but he had the cla-2a hi-freq knob fully on flat (right side). i think instead of turning the knob to the left he put the first puigtech that does this job. ruclips.net/video/nJjPo2ts3RM/видео.html.
I think he made a mistake in his video. Straight from the Waves manual:
HiFreq increases voltage amplifier gain in the peak reduction circuit, for frequencies above
1 kHz, leaving lower frequencies unaffected. When set to Flat, the CLA-2A will provide equal
reduction to all frequencies. The more you move away from the Flat position, the less sensitive
the compressor is to lower frequencies, resulting in less compression. This control may also be
used as sort of a de-esser.
Counter-clockwise, away from flat, is the correct position for this effect.
In the end, it probably doesn't make much of a difference and the effect will work either way.
Oh wow I’ve been looking for that video, it got privated, no wonder I couldn’t find it
A good mic , compression , aural exciter EQ and maybe a de esser . . If you compartmentalize the range of all the instruments In the mix , you will create clarity . Making every instrument as fat as possible causes mud and sound cancellation in a dense mix . Strong left and right panning leaving the vocal in the middle also makes the focus on the voice more apparent . The fewer instruments the fatter (. More overtones )you can make each instrument in the mix
Arguably the greatest mixer of all time, CLA disagrees. He doesn't compartmentalize or "carve out" frequencies. I fact he preaches against that. See the Waves Audio video they released a few weeks ago about about "vocal mixing myths."
pretty sure andrew scheps was high and added the compressor multiple times not remembering that he put it
The EQ*
These techniques are insane.. Thank you so much for extremely valuable content 👌
Hello I am a blind producer and it’s a little bit difficult to follow you, with the first option is there anyway you could save the preset so that way I could import it into my plug-in? Or if you do work with logic can you save the chain and I can import it into logic? If I could hear back from you it would mean the world thank you
Used this trick, it's the best deal for your artist, thank you so much, i appreciate you, this was the most common problem for not comfortable hearing the artist in the mix, after your couse tip videos i start look much more diffrent to the mix stage.
Smartass: But effectively you raise the volume of the vocals by nearly 3 dB by doubling it with the parallel compression, to really compare you should have taken the uncompressed version down, to really hear whats the difference youre creating. Maybe just turn up the vocals by 2,5 dB would have sounded better?
I understand your point, but it's not just gain you are adding. The tone of the parallel vocal is also different, helping it cut through the mix more.
@@GreenLightSound No doubt! Good trick to try out, no question. Was just smartassing about comparability..
just to understand correctly. you are processing a copied “parallel” vocal track of the main vocal? is this done on the dry vocal track, or after youve done your regular processing on the vocal and then copied to do this trick?
A better comparison would be to just turn up the vocals by 3db without “the trick” and compare them to the vocals with “the trick” surely?
1:15 bandwidth on a pultec does not affect the low end & only controls the Q of the high frequency band
Side note: The song you’re demonstrating these techniques on is fantastic from the little I can hear. Cold chills. Who IS that?
Jay Clifford - "Paralyze"
@@GreenLightSound Thank you!
Yeah -- really brings on a big 'FM radio vibe' when you dial the processing into the mix.
If you show a difference, show it on the same signal levels. Ofcourse it sounds clearet if you add to vocal more vocal!
for hip hop try running a cla 76 into a cla 2a ..the 76 only catching 1 reduction the 2a catching 2-3 reduction adjust the 2a for overall make up gain dont let the cla 76 signal leave too hot then parallel that main bus with a rcomp squashed to a 50 ratio 5,000 release 3.2 attack -34 threshold then blend that into the main signal and trust me youll notice a difference
Thanks for the wonderful video, I wish I could follow along but I’m a blind producer and know a lot about parallel processing, I have all the plug-ins you mention the universal audio I have the legacy, and would love to see if you could send me a channel strip for logic so I can pull it up let me know if you can help me out it would be wonderful to try this at home thanks again
The pristine Presonus PulTec - The stock EQ and Compressor are very clean and transparent.
Hi everybody, this is a good video and I appreciate every lesson online. What I’m looking for is to make a vocal chain using basic cubase stock plug ins. If any one has any tips on where to find a video lesson or maybe you know some tips yourself? I’d be happy to hear from you
the Black Rooster VLA 3A or Analog Obsession LALA (2A) is the Closest 2A or 3A plugin your gona get OUT THE BOX that sounds like the UAD Textronix Hardaware Unit
"I could turn up the vocal...." proceeds to turn up the vocal. That's all that's really happening. Its not a trick
Thank you so much man this made a HUGE difference in how my vocals cut through the mix
Happy to help!
The same effect can be achieved more easily by simply using a multiple band compressor, compressing only the upper-midrange band, and then blending in parallel. This was something he did in HW before multi-band compressors even existed.
you're correct. there's a lot of technical ways to do the same. but pultec & LA-2A are famous for their saturation and "musical color". So, i guess, if you need some extra warm and crisp you'll do this way:)
1. Multiband compressing introduces phase shifts and flips (or pre-ringing) at the crossover frequency. The Scheps method comes with different phase issues. 2. LA 2A is a wideband compressor no matter what - making it less reactive to the low end does not mean it doesn't compress it. Similar effect - kind of... but the sound difference is significant enough to try both imho.
@@TomiSimatupang You're right. But had multi-band compressors been largely available when this technique was created, I suspect they would have gone that way. This 'trick' is a byproduct of an era where you had to string together 3 expensive boxes to do what he wanted...have a very dense mid-range in the vocal. So we glamorize it because AS uses it, but not because there isn't some other way to do something similar (and potentially faster / less resource intensive.)
FWIW - I use it sometimes as it's in my template, but it's worthwhile for people to understand what is really going on so they can decide for themselves (and the song) what they should do. :)
@@ParadNorthProd Thanks. I agree that it is very old school, but it does sound much better than a multi-band compressor to me. The old school method tends to sound in your face, crisp with a lot of character. I don't care who invented that, it just works :) A friend of mine does the multi-band thing to every vocal and I hate it 80% of the time. I've tried it, used linear band and dynamic eq, too. Especially with non linear phase mb compressors I get weird phasing effects or just a hollow, unnatural mhf or disconnected consonants.. How do you get it to sound nice?
Nice tip. Thanks for sharing
I'm pretty sure the bandwidth is controlling just high frequencies, at least on my UA Pultec. Am I getting that wrong?
That is actually more due to level increase when you bring up the parallel channel. The LA-2A does little to nothing given its parallel context. I would be more aggressive with the compression on the parallel so it also creates movement and depth. I would also not advise for a strict recipe because we all know Andrew doesn’t have a fixed gain structure, instead he always relies on his ears.
You are not compressing just the top end by using the filter knob in LA2A, all frequencies will be compressed but the compression will be keyed by the high frequencies so not the same as multiband at all.
Excellent! Thank you!
Heck, just take some 3K medium Q separate channel slide it in - low pass everything below 1K. - I wonder if that would work?? Kind of like brining in some definition on a bass drum.
its magic
thank you soo much
well, ok, but increased clarity is also very much because of more overall gain of the vocal once you bring the parallel channel up.
True, but parallel processes almost always have increased gain as a side effect.
True but this is also true with effects busses and drum crush busses. Are you trying to say we shouldn't be using these?!
@@pvalenti in an buss you would bring it down to the initial level...
@@fromabove422 yeah, hence my point!?
@@pvalenti lol
Thanks for this, that's a great technique. Well explained.
What a trick!, great video, thank you.
Its crazy that as you bring up that second channel of the same vocal you can hear it better. Who would have thought that more volume would make it easier to hear over the rest of the music? Thats some magic right there.
You mean like nearly every other parallel process?
@@GreenLightSound not when you actually compensate for that volume gain beyond the effect. ....
come on. He is right. take it.
@@GreenLightSound You know you're supposed to compensate for that, right?
my thoughts exactly.
This guy gets it.
When applying eqs in a parallell track, isnt the shift in phase causing phase cancellations?
Great vid but is it just me or does it sound like you have a slight ring mod effect on your voice. Or maybe it's just your voice hahah
This is completely unnecessary
i dont use Waves what else i can use . please
Lots of developers make a pultec and LA-2A style plugins. UAD, IK Multimedia, PSP, Softube and many others.
@@GreenLightSound thank you so much
I’ve always had so much trouble mixing vocals. Thanks so much for this tip
Happy to help!
wow that help me a lot in my mix! you are the man!!
I think the stock set up sounded better. I have both set ups . I use Studio One with an Apollo. I dig Luna also but In my opinion my vocal texture sounds smoother right from the start in Studio One. I love the fact I can drop a mic pre in the unison slot with Console. I tweak the vocal presets in Console and get some killer vocal sounds using my AKG C214 or the Rhode NT -1. I don't find myself using the 7B much anymore. Unless I'm belting. Before I treated my room it was my go to mic. Great video I'm definitely implementing that on something. Thanks
Hey what’s up, I was wondering if you can help me out the thing is is that I am a visually impaired producer and can’t follow along in the video, I don’t know if you use logic or ProTools, but do you think you could save the preset in logic so I could import it, or if you could just create a session in ProTools with the plug-ins that he has with the proper settings and then I could do everything from there and just send me the session? It would mean a lot thank you so much hopefully you can help me out
Does this mean the main lead vocal is not getting any processing ? Only the parallel track is getting this technique?
The main vocal channel still gets its normal processing.
Very cool... I've always used a multi-band compressor - excited to give this technique a test, always love experimenting with new techniques. Thanks & Cheers from Seattle!
Great trick. Question, do these 3 plugins go on a mix buss? Or directly on thr vocal track
They go on a separate buss/aux channel that the vocal is sent to.
Just as an FYI, there's a Pultec emulator called Warmy by Kiive that's free. I used that with a compressor with sidechain filter that allowed top end filtering above 1k. I worked really well to pull clarity out of a vocal. Nice tip. Thank you!
Does your parallel track have the processing coming in from the main vocal track? And then you add these 3 plugins? Or are you sending a dry signal to your parallel track?
The parallel track is a send from the main vocal with processing.
Anyone tried this with the Waves Pultec emulation ?
I have. Works great.
@@GreenLightSound The infamous 'Puigtec'. Tried it too, works as shown here. I wonder if this technique works well with other instruments with slightly different settings.
Hallo am Dizzo I wanted to know when you creat this channel is it on a send bus or a stereo out put?
Also I in which order are the plugins inserted
It's on a send, and the plugin order is Pultec, LA-2A, Pultec.
Good explanation. A nice variation on NY.
This would be a better demo if you didn't also make the compressed vocal LOUDER at the same time. Of course it now sounds "clearer." Parallel compressing the vocal can certainly help, but without level-matching both examples this demo is fatally flawed.
I understand your point, but that's not the way Andrew Scheps does it. The added gain, plus upper mid range emphasis are all a part of this technique.
Andrew Scheps did this on a mix does not mean it's how you get every vocal to cut through a mix. That's dumb.
Him, having done 500k mixes in his life, he probably knows how to treat a shrill or brittle vocal to trick the compressor into focusing on smoothing out those bitter frequencies.
For a darker vocal, this will make it sound like shit.
It's in his template, not just a one-off process. Since it's a parallel process on a send, a brittle vocal should have been dealt with on the main vocal channel before employing this technique. It also works opposite of how you think, emphasizing the upper mid range to get the vocal to cut through, not trying to tame them. Could work wonders on a dark vocal that's struggling in the mix. As with literally any other processing you might do, you have to know when to use it.
The puigtech make noise wtffff
Ripping off Andrew isn’t in your best interest. Make ORIGINAL content.
Not ripping off. I credit him with the technique, which he freely shares.
Is this pretty much what Waves' Greg Wells's Mix/Tone/Voice-Centric plugins do? (Maybe plus extra saturation?)
Not sure. It's been a while since I tried those.
I'm confused how this is parallel processing, or where the parallel processing is happening. Could you explain?
Main vocal is sent to this processing on a parallel channel.
Can you do a video on setting up a mix template using stock and 3rd party plug-in.
m using a
Waves NS1 Mono
API 560 Vocal Preset
R Dessor Dave P setting against Harshness
and Last in my Vocal Change....
I've got the VLA 3A by Black Rooster (Pretty Much the BEST) Vocal and Bass Guitar Plugin online....)
Going into my UAD 476 Volt with 48+ Phantom, 1176 Compressor and Vintage Effect in ...
Honest sounds like I'm singing into an analog Mixer with Gate and a UAD Textronic LA2A...all in the Box on the Computer
Once again....I do not claim to know more than Andrew Scheps...but....his Idea might work better if your Using a $3000 interface with a $2000 LA2A comp.....so in the Box with a great vocal interface like Volt....trust my vocal chain sounds warmer, clearer and is cutting through my mix sharper and smoother than your suggestion above...no offense
I just went into my Vocal Closet Set up and shot your Idea against mine...I won....LOL ....the Black Rooster VLA 3A, API 560 EQ and Volt 476 UAD Interface for vocals...three must...if you want to compete with the $200,000 studios.....as far as vocals....
Thank you so much for sharing your time and Andrew's technique with us. Just so I understand correctly. You are sending the lead vocal to a buss where the plugins reside. Obviously, I am a little late to the party. Oh well, better late than never!
That's right - a copy of the vocal is sent to a buss or this processing.
It's only am searched this kind of trick 💓after some years
Thanks so much for the tutorial, definitely subscribing because you also use Studio One
Awesome, thank you!
All of this just to sound bad wow!
Why not use the FAT Channel in Studio one? You have the LA2A and Pultec EQ as an Emulation in there
I'm not a fan of the Fat Channel LA-2A, plus I didn't want to make it Studio One specific.
Anybody type out the steps?
De-crackle on your voice
Suddenly recording life just got easier. Thanx.
Yo do I insert the plugins after my vocal chain is loaded (auto-tune, compression, eq) or before?
Alright I don't know if I did it right but this is how mine is (FL Studio) Main Vocal --> All Vocals --> Master. And I have a send to the cut through the mix plugins from all vocals going back to the master. So the vocal is going to the master twice
That's how its done - a send from the main processed vocal.
wow, it's like reacting to magic happening on 3:50. Fantastic video, thanks for sharing!
Thanks for watching!
What is that song?! Really nice.
Great video. Thank you!
Jay Clifford - "Paralyze"
Hey, great video! So, you do this technique making a send channel?
Exactly
amazing trick. thank you
Can we invite the one person back who disliked this video to explain themselves?
This is being presented as a "way to make vocals cut through a mix". Great tips in the video, I personally like the sound, but this could be extremely misleading for a beginner and should definitely not be presented as a cure-all method. Changes like this will always be dependent upon the sum of the characteristics of every element involved, like the frequency responses, impedances, and natural compression of the mic and the singer and the speaker and the other instruments and the preamp and the amp and the blahblahblah. I could easily see a scenario where this as presented would sound terrible on a particularly bright system. At the end, all this method really does is very gently color the highs w/ comp and eq in a way that happens to make them stick out in a mix that sounds similar to this. Which is super cool, but definitely does not apply to a huge percent of mixes. And lets not forget that what sounds "good" is way more subjective than any of us would ever care to admit. I think the method shared is super cool, but should be presented as "In scenarios like this mix, a possible way to change the tone of your vocals so they occupy a less used portion of the frequency spectrum while also adding a personally but still subjectively desirable compression is to do blahblahblah. " While what i said may seem obvious to you, or you may disagree with what I said, it may not be obvious to someone who is new to mixing. Presenting "secrets to a good mix" is utterly ridiculous(not saying thats what this is, but yeah) and this could be less harmful to the community if presented as a tool for very specific scenarios, and if people generally stopped preaching mixing and started teaching mixing. I didn't dislike the video, but could see why someone would lol. I liked the video, just a mini rant on the elitism of sound engineers.
At 3:55, when he turns up the parallel process he's also turning up the volume of the vocal. No shit it cuts through, you turned it up! Lol. Just about anything sounds better louder so this can easily trick your ears.
Needs to be volume matched in order to illustrate the difference of the parallel processing and not just the volume change. When parallel processing gets turned up, need to turn dry signal down.
@@TheDwarfInvasion lol yeah. thats how the fletcher munson curve works. the closer you get to like 80db a weighted the closer you get to your ears thinking the freq response is flat, which is why people love blasting their music on their headphones.
@@Billtuckers I really appreciate such a considered and informative reply dude.
As it happens, I agree. This method definitely has some benefits but I totally agree that some grains of salt need to be employed.
Incidentally, Andrew Scheps would be the first to back up everything you said :)
Is this basically the same as a multiband compressor that only compresses above ~2k?
Not quite. This compresses the whole signal. The compression is just triggered from the high freq content. Plus you get the modeled tube sound of the comp and pultecs.
Absolutely tremendous trick. Thank you so much!!!!!
Happy to help!
when you do it with a digital EQ its changing phase of the vocal and you get a comb filter effect. That sounds ugly. NEVER do it with a digital EQ or at least use a linear phase mode. I don't know about y'all watching this video, but i can hear the comb filtering when fader brought up. The tip itself is cool. It also works with any compressor. Try 1176 instead and you'll get a more aggressive character. If you use Arturia 1176 you also have an option for internal sidechain.
Thank you for the valuable information. I would like to highlight that the "Bandwidth" control exclusively influences high frequencies, with no impact on the lower frequencies.
This is so cool! Thanx for sharing!
Great information btw I listen to quite a number of these tutorials & Jeff song 'paralyzed' by far my favorite will look this songwriter/preformer up.
Dude, unless T-Rack's version is different, the bandwidth is for the high boost, not the low.
i still havn't fully figured out what this technique did. appears like "a compressor that reacts more to the highs than the lows"
can we a single multiband compressor to achieve a very similar effect?
Gotta try this, have not find that before. Something new... Yay.. Love these little tricks. This is perfect! And I'm super impressed with the results. Wow! I would've remixed it to get that vocal to sit better, and that would've taken a day. This solved that in a minute! Genius!
Glad to help!
m using a
Waves NS1 Mono
API 560 Vocal Preset
R Dessor Dave P setting against Harshness
and Last in my Vocal Change....
I've got the VLA 3A by Black Rooster (Pretty Much the BEST) Vocal and Bass Guitar Plugin online....)
Going into my UAD 476 Volt with 48+ Phantom, 1176 Compressor and Vintage Effect in ...
Honest sounds like I'm singing into an analog Mixer with Gate and a UAD Textronic LA2A...all in the Box on the Computer
Once again....I do not claim to know more than Andrew Scheps...but....his Idea might work better if your Using a $3000 interface with a $2000 LA2A comp.....so in the Box with a great vocal interface like Volt....trust my vocal chain sounds warmer, clearer and is cutting through my mix sharper and smoother than your suggestion above...no offense
I just went into my Vocal Closet Set up and shot your Idea against mine...I won....LOL ....the Black Rooster VLA 3A, API 560 EQ and Volt 476 UAD Interface for vocals...three must...if you want to compete with the $200,000 studios.....as far as vocals....
Nice technique, works great 😊
No wonder that Andrew mixes in the box with so much parallel busses.
Hello, Question are you a PLAP member? I know this song from Produce Like a Pro. If so it would be great if you give some love to Warren and the artist. Just a suggestion. Great video BTW.
Andy Tullis
I am, and it's in the description now!
@@GreenLightSound your awesome!!
Interesting but for me, i got a boost, and a weired flanging effect - which normally doesnt happen when doing P-Compression
Does he use plugins or hardware?
Plugins only for a while now.